mfs@mhuxr.UUCP (Damballah Wedo) (10/06/85)
McCoy Tyner is enjoying a resurgence of activity. He has been touring with
an excellent trio, and recently debuted with a loud, endearing big band.
Here he is with the great alto saxist Jackie McLean, the impeccable Al Foster
on drums (a percussionist is also here) and the excellent Ron Carter and
Marcus Miller sharing the bass duties. Jon Faddis is along for some high-note
Dizzy-isms. This band was assembled for the studio only, which is a shame
because the two principals display solid rapport from the cover on in. It
would have been neat to see these two translate their electricity onto a
bandstand. Well, sweet dreams are made of this.
Things start with "Spur of the Moment." The name is appropriate, it sounds
like it was written 10 minutes before the session started. An quick head
arrangement over well know chords and it's off to the races. Jon Faddis
starts things along with a stratospheric solo. McLean brings things back
to earth with a gutbucket solo. Tyner then comes in. His hands have been
brought into tighter synchronization. He has cleaned up the subversive
stream of chords that used to emerge from his left, keeping sidemen
fearful and occasionally overwhelming even his right. Of course, that
high-wire act was what made his early 70s albums (ENLIGHTENMENT, ATLANTIS,
TRIDENT, to name but a few) so exciting. Now his hands tell the story
together, rather than at the same time. The difference is subtle, but
significant. At a New year's trio gig at the late and lamented Lush Life,
the music came at the listener like the waves of a ocean, with power and
majesty. If one looked close enough, there were all kinds of edges,
but viewed as a whole, the music felt smooth, solid. That percussive
attack that makes each note a challenge, with clearly defined leading
and trailing edges is still quite there, and when he chooses to, he can
give it that snarling bite.
"You taught my heart to sing" is gentler. Well, this is relatively speaking,
because it is clear that McLean is in swinging mood. He tugs at the tune,
displaying an impassioned tone. "It's About Time" is funky in a modern way,
with Miller holding down the groove. McLean tears through, while McCoy is
calmer. Side 2 opens with "Hip-Toe," which is a classic Blue Note tune.
Faddis again warms up the pots, for McLean and Tyner to serve an appetizing,
blues-spiced stew with. McLean lays out on the last two tunes, with the
percussionist doing the same on "No Flowers please." That tune is thus a trio
performance, and Tyner displays the lyricism he has unleashed with his trio.
I use the word unleashed purposely, because even a lyrical Tyner sends a flood
of ideas out and the it's all for a listener to do to avoid losing the thread.
With album like these, the new Blue Note is keeping the flame of the old label
alive. I have rapped them for signing turkeys like Charles Lloyd, I ought
to give them credit for getting these two giants together for the first time.
As the title says, IT'S ABOUT TIME! Now if someone could record that big band
that burned Sweet Basil's recently......
--
Marcel-Franck Simon ihnp4!{mhuxr, hl3b5b}!mfs
" Papa Loko, ou se' van, ou-a pouse'-n alle'
Nou se' papiyon, n-a pote' nouvel bay Agwe' "